“A program of works for soprano and electronics exploring the fluidity of thought and memory; and the uncovering of truth through that imperfect remembrance.”

TICKETS and CONCERT INFORMATION

This minimal program was attached to the art piece given to each audience member. Each print was signed and numbered, and contained a download code provided by The Caretaker for his album "Everywhere at the end of time" which was featured in the performance

Audience members met in the Parlor of Westmoreland to discuss the inspiration for the program with Aani Bourassa and Alec Davis, and were given their collectible art print, with label on the reverse (see left).

They entered the stairwell to music by the Caretaker, and were led to their seats - 4 on each of the 5 landings, each landing with a lamp on a pedestal containing a programmable smart bulb.

Aani performed the acoustic works by Kenty, Saariaho, and Buckley throughout the stairs and landings, accompanied by 5 audio monitors, and interspersed with the recorded works of The Caretaker.

The performance lasted precisely one hour, after which there was a wine reception in the Parlor, and discussion with the creation team. All three performances were sold out; however, due to snow and dangerous driving conditions, the Sunday performance was cancelled.

About the performers

AANI BOURASSA

soprano soloist / program concept

American soprano Aani Bourassa is a versatile actress of emotional depth, praised for her “brilliant, yet sparkling high notes” (Burlington Hawkeye). Noteworthy engagements this season include an artist in residency at the Ad Astra Music Festival where she will sing Peitho in Here Be Sirens (Soper) and soprano in a one on a part version of Bach’s Matthäus-Passion; Messiah with Apollo’s Fire, solo recitals featuring the works of Bach, Purcell, and Barbara Strozzi; Passion and Resurrection (Ešenvalds) as part of the Latvian Embassy’s celebration of Latvia’s centennial; a world premiere performance of The Night Psalms by composer Griffin Candey and solos in Bach’s Magnificat and Cantata 140: Wachet auf ruft uns die Stimme as a part of the Marquette Bach Festival, as well as other oratorio, choral, and concert work.

Ms. Bourassa trained at the Capital University Conservatory of Music and the University of Illinois: Urbana-Champaign studying with Dr. Lynn Roseberry and Yvonne Gonzales-Redman. Her repertoire includes: Pamina (Die Zauberflöte), Donna Anna (Don Giovanni), Fiordiligi (Così fan tutte), Female Chorus (The Rape of Lucretia), Cleopatra (Giulio Cesare) and Juliette (Roméo et Juliette). Equally comfortable in recital and concert settings, she has performed solos in Beethoven’s Symphony No. 9, Bach’s Magnificat, Haydn’s Lord Nelson Mass, Bach’s Cantata 140, Schubert’s Mass in G, Vivaldi’s Gloria, George Crumb’s Madrigal 2, Handel’s Saul, and Steve Reich’s So-drumming. Ms. Bourassa is a champion of new and undiscovered music and is currently involved in a collaborative project to rediscover and record the vocal works of composer Carl Czerny with pianist Samuel Gingher.

In addition to performing, Ms. Bourassa works as a producer and manager for classical recordings. She recently relocated to New York City, with her husband, Kevin and dog Kincaid.